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"Sampling is a production tool that is fundamental to electronic music. A seemingly simple act - taking small bits of prerecorded sound, often from an existing composition, and incorporating them into a new piece of music - has in the past few decades proven to be a revolutionary cultural force. An essential element for the development of hip-hop in the 1980s, as well as for electronic music scenes concurrently taking shape around the world, sampling helped lower the barrier of entry for potential music makers: No longer did a producer need studio access or a group of musicians to make full and rich productions. Instead, they could dig for loops and breaks from a wealth of existing material and use the pieces they found to create new compositions. The process also allowed the artists to insert themselves into a different type of musical timeline, traversing and connecting decades of sounds in a way that would have been impossible before the dawn of sampling."

"The sounds of crickets courting and flies flying familiar to many of us, but have you heard a rice weevil larva eating inside a wheat kernel, a termite cutting a piece of wood, or a grub chewing on a root? Modern insect detection and control technology makes use of these subtle signals, sampled below. Most of the sound files on this page were selected from noise-free sections of recorded signal, but you can hear some typical background noises mixed with insect sounds at I below. The insect sounds have higher frequencies and shorter durations that make them relatively easy to separate from background."

"If you want to register a song at GEMA (RIAA, ASCAP of Germany) you have to fill in a form for each sample you use, even the tiniest bit. On 12 Sept 08, German Avantgarde musician Johannes Kreidler registered - as a live performance event - a short musical work that contains 70,200 quotations with GEMA using 70,200 forms."

In November, Gillis and his label, Illegal Art, released the fifth Girl Talk album, "All Day," as a free download. Within 24 hours, several sites had posted annotations of "All Day," cataloging the samples on the album -there are 373 of them. Download traffic was so heavy that MTV News ran the headline "Girl Talk Apologizes for Breaking the Internet" - hyperbole, but not far from the truth. Illegal-art.net reports that "All Day" was downloaded so often that the servers crashed. In Girl Talk's honor, Pittsburgh declared Dec. 7, 2010, "Gregg Gillis Day."

Solo. Based on a recording of a Salvadoran boy burying his father. Bob Ostertag did not simply create a political piece but a musical reality, in which sampling technology is used in a significant way for the first time. The music encircles reality, decomposes it into music and recomposes it until reality is no longer able to escape. It is this clarity that makes Sooner or Later great music, a music that has something to do with life again. -- Die Zeit

"Years ago I unearthed a case full of cassettes in my parents closet. I'd been saving a certain one for the right time. A recorded letter, "To Ron" written on the label. It would have been sent to my father in Costa Rica from his family in Ohio. Upon pressing play I hear who I think is my grandmother as the initial hiss of the tape settles and soon the voice of my young uncle. My Mother and Father met while they were both serving as Mennonite missionaries in Costa Rica during the 1970s. He sang love songs outside her window. He rode an old Yamaha motorcycle up through Central America. He loved to tell those stories. While on my third stay in the psychiatric hospital I started sketching out a short piece. The new season of Twin Peaks was airing at the time and the adult unit I was housed in is known as "Lodge". It was during my fourth and most recent stay that my father fell ill and passed away. I experienced his last days through second-hand phone calls in my own hospital room miles apart. Such a physical disconnect and heightened reality complicates my ability to grieve. I returned home and had to finish the piece. The sample finally had a purpose."

ipad app to sample sounds (and video) and use the ipad as a visual triggering device.

""the role of smells in our perception of and engagement with the past has not been systematically explored." Their findings, presented under the title "Smell of heritage: a framework for the identification, analysis and archival of historic odours," are based on sampling volatile organic compounds (VOCs), which compose most odors, at sites including the library of St. Paul's Cathedral in London. They additionally surveyed people about their olfactory perceptions of historical books."

"When the pair sampled Lebanese singer Dunya Younes for their groundbreaking album My Life in the Bush of Ghosts, they assumed the original recording was cleared. Four decades on they all meet up to find out the real story"

The idea for Sonic Bicycle Ride combines Beijing's bicycles - still very evident despite the traffic - with the sampling loudhailers used by street vendors to advertise their wares. These inexpensive devices record eight-second slogans, which playback repeatedly, and loudly, until the batteries go flat. For Sonic Bicycle Ride, eight loudhailers were attached to eight bicycles and used to play specially created sounds as they were cycled around Beijing's streets. Routes were planned through the Xicheng district - an older hutong area crossed by a few busy roads - so that the bikes would be heard in changing combinations, sometimes as one large group, sometimes on their own. The eight layers of sound were designed to be heard separately or to harmonise when brought together. Listeners could follow on their own bikes or stay in one place. Bystanders heard the piece emerging in and out of familiar neighbourhood sounds. "

"n array of motion sensitive modules is installed along a section of the trail. When someone walks past, the modules emit sounds which supplement the sounds occurring naturally in the environment. The sound samples are arranged along the path in a sequence which proceeds from the most "natural" to the most "man-made". The effect varies depending upon which way one happens to be moving along the path. At the "natural" end, it is not clear whether what one is hearing is part of the installation or part of the (natural) landscape."

webinar on psychoacoustics - video with sound samples

"Fast Slow Radio presents 22 sonic impressions from locations around the globe. Each 60 minute section is an "audio time-lapse" combining thousands of chronological audio samples collected during a 24hr period. Fast Slow Radio combines the glacial pacing of Norwegian "Sakte-TV" with the constant change of Luc Ferrari's "Presque rien No. 1"."

"Fast Slow Radio presents 22 sonic impressions from locations around the globe. Each 60 minute section is an "audio time-lapse" combining thousands of chronological audio samples collected during a 24hr period. Fast Slow Radio combines the glacial pacing of Norwegian "Sakte-TV" with the constant change of Luc Ferrari's "Presque rien No. 1"."

"Recorded in its entirety using just a laptop, a pair of headphones and a midi sampler, Indentations is the debut full length album from New York based percussionist and producer Grant Chapman. Indentations draws deeply on Chapman's personal experiences surrounding loss and betrayal. An intimate work reflecting the struggle of dealing with traumatic experiences, the album makes the case for equilibrium following life-altering experiences. ''The album is a meditation on the sheer weight a broken relationship can have on two people. A personification of the stages of grief one feels when growing apart from someone they love, for reasons they can't seem to reckon with or comprehend.'' Working from his East Village apartment, Indentations is a rich amalgam of intricately layered found sounds, almost all of which were found on YouTube, taking in influences that range from ASMR to acapella choral performance. The effect is dizzying in its depth and scope. Chapman has created a boundless emotional musical journey that can feel both deeply intimate and cosmically vast."

"krewe coumbite is an archive and remix process conducted by muthi reed. reed gathers and assembles media through sharing, relationship, deconstruction, making, sampling and mixing. Central to their process is the observance of Black sound, rituals and feelings. krewe coumbite is a study in dynamic being-ness (finesse, shape, free form and movement, ontology, ritual, vernacular) that is Blackness. Borrowing from the Black love strategies cultivated by maroons, rastas, social aid and pleasure clubs, mutual aid societies, movement organizers, the Black Arts Movement, Harlem Renaissance, urban rebels/rebellions of the 1960s, Jamaican Sound System, freestyle and hip hop culture of the 1970s, 1980s and 1990s, krewe coumbite engages local presence and the non conditions of space through occupying publics, interior time, light and sound projections, convergence and soul culture."

Soundcities was the first online open source database of city sounds and soundmaps from around the world, using found sounds and field recording. There are now thousands of sounds from around the world on the website. The concept started in 1995 with various iterations. In 1996 Stanza devised the term soundmaps and initiated the various works that developed into soundcities.com. Stanza's interactive soundmaps have been online since 2000 and the Soundcities database since 2004. This project allows the audience the possibility to remix the hundreds of samples recorded from cities around the world in an online database. The sounds can be listened to, used in performances on laptops, or played on mobiles via wireless networks. The Database is also open so anyone can upload sounds they collect from world cities, thereby making a contribution to the project and making an online sounds archive.

"Van Dam and de Boer have developed the following idea from these different interests. In several recordings of Dam filmed (and sound is recorded) when he performs Sequenza VIII . Emphasizing first half total, the body and the intimacy with the instrument. Then abstract details filmed, like his hands, his ear, details of the violin, strings and the like. In the editing is from the portrait / body of the violinist a more fragmented, abstract image created a physical, gives spatial experience in the tension between the music and the image rhythm. If the body and the violin in abstract details and solve dancing away in the (sound) space."

Vocalist, performer and sound artist Stine Janvin works with the extensive flexibility of her instrument of the voice, and the ways in which it can be disconnected from its natural, human connotations. Created for variable spaces from theatres, to clubs and galleries, the backbone of Janvin's projects focus on the physical aspects of sound, and potential dualities of the natural versus artificial, organic/synthetic, and minimal/dramatic.

"From Pierre Schaeffer and Pierre Henry to J Dilla, collage-based sound art has compelled us to hear our world anew."